DOCSLIB.ORG

A Case for the Role of Science-Fiction in Theatre Stephen B. Platt

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Case for the Role of Science-Fiction in Theatre Stephen B. Platt Stranger in a Stage Land: A case for the role of Science-fiction in Theatre Stephen B. Platt This dissertation is presented for the degree of Doctor of Philosophy Murdoch University, Perth, 2020. ii I declare that this dissertation is my own account of my research and contains as its main content work which has not been previously been submitted for a degree at any tertiary education institution. _______________________________ Stephen B. Platt iii iv Acknowledgements I wish to acknowledge the contributions of the following people for their impact upon and assistance with my work on this project: To Dr. Melissa Merchant – It was you who put the idea of post-graduate study into my head, so technically this is all your fault. Thank you. To Prof. Jenny De Reuck and Dr. David Moody – You taught me a lot as an undergraduate and as an Honours student. I was and am still thrilled that you agreed to supervise the beginning of this project and you have remained stalwart supporters of both it and of me ever since. To Dr. Kathryn Trees – You came on board to supervise more than two years into this project and helped get it over the line. I have learnt a lot from you about writing, reading, and analysing academically, as well as the fun one can have doing it. To Mary, Jules, Herbert, Sydney, Gene, Gerry, Verity, Jeff, George, Steven, Terry, Rob, Douglas, Doug, and Rebecca – thank you for the inspirations. To the friends who I met at Murdoch – there are hundreds of you who I have had the pleasure to meet in my time at the University, and I feel very lucky to still call you friends. Thank you for the support and friendship. To the cast and crew of @lantis – thank you for taking part in the adventure. It was no small undertaking, but you all helped me realise a long held creative ambition of mine and I am extremely grateful. To Mum, Dad, Rebecca, Michael, and Charlie – Thank you for always supporting my endeavours; no matter how obscure, difficult, time-consuming, or just plain weird they are. To Joy, Malcolm, Brodie, Alysha, Emily, and Flynn – your support, in ways both big and small, is all appreciated. To Gibson the Dog – you were born the month I started my university studies back in 2007, and you have been a consistent study companion throughout it all. Thank you for being a good boy. To Dr. Sarah Courtis – Thank you for leading the way and for being the best friend I could have hoped for on this academic journey. And finally, to my wife Dr. Ellin Sears – Thank you for love, support, advice, and care you gave to me throughout my studies whilst completing your own. I am looking forward to today in tomorrow’s clothes. 1 2 Abstract Science fiction is one of the most popular genres across the major entertainment mediums, except theatre. Despite science fiction plays existing for almost as long as there has been science fiction literature, the genre has failed to flourish on stage as it has done in the mediums of cinema, literature, television, and interactive entertainment like video games. Theatre in the twenty-first century has shown encouraging signs of growth and development for science fiction stage shows, and live performance spaces, practitioners, and production companies have the potential to breed the next great works of the genre. Academia relating specifically to science fiction theatre is also an emerging practice. Ralph Willingham’s Science Fiction and the theatre (1994) remains amongst the most comprehensive compendiums of the genre’s stage history, but a number of contemporary researchers and academics are beginning to examine the practice of science fiction theatre in greater detail. By considering the work of academics on science fiction and the history of the genre, both on and off the stage, I show that science fiction and the theatre possess many benefits for one another when combined in practice. My research uses a multi-modal approach, drawing upon the theories of Practice as Research, Audience Reception theory, and the Iterative Cyclical Web, to demonstrate how practitioners can develop science fiction texts for live performance spaces that effectively create and explore the genre’s themes, values, and stories. The exegesis explores the genealogy of science fiction in theatre and contains documentation of my creative artefact used to examine the processes of creating original science fiction for the stage; the staged radio play series @lantis. Written and directed by myself, @lantis was a two-year long project that featured the contributions of more than fifty actors, sound designers, foley artists, theatre technicians, visual artists, and musicians which culminated in seven individual episodes between sixty and ninety minutes long, performed live as a work of theatre to an audience, as well as being recorded and broadcast online as audio plays. The exegesis concludes with an analysis of data collected from surveys taken by @lantis audience members and in-depth discussions about potential areas of interest for contemporary and upcoming science fiction theatre practitioners. 3 4 Reading Order This exegesis consists of the following components: 1. The dissertation Stranger in a Stage Land: a case for the role of Science Fiction in Theatre. 2. Appendices including the website for @lantis, the completed script for the first episode of @lantis (Episode One: Fish Out of Water), and four reviews of live performances of @lantis. 3. A Bibliography and Reference List of academic readings, articles, films, literature, stage productions, and other media cited in Stranger in a Stage Land: a case for the role of Science Fiction in Theatre. 4. The seven audio episodes of @lantis. 5. Video recording of the seven live theatrical performances of @lantis. 6. The scripts of episodes two through seven of @lantis. The audio episodes, video recordings, and additional @lantis scripts are separate attachments from the dissertation. Readers can approach the content presented in any order that they wish. I would advise that readers should familiarise themselves with at least one episode of @lantis before reading Chapter Five – My Theatre Praxis, as that chapter discusses the production in detail. It is at the reader’s discretion how they choose to interact with @lantis; whether that be reading the script(s), listening to one or more of the audio episodes, watching one or more of the video recordings of the stage performances, or any combination thereof. If you choose to watch the video recording of Episode Seven – It’s a Wonderful Mind, there was a technical fault when recording that resulted in there being no audio captured on camera until five minutes and twenty-six seconds in. To hear the missing dialogue, please listen to the audio version of Episode Seven. This video also concludes with a speech from myself given on stage thanking the cast and crew of @lantis. It is not part of the scripted performance. 5 6 Table of Contents Contents Acknowledgements ....................................................................................................................... 1 Abstract ......................................................................................................................................... 3 Reading Order ............................................................................................................................... 5 Table of Contents .......................................................................................................................... 7 Glossary of Terms.......................................................................................................................... 9 Table of Figures, Images, and Tables .......................................................................................... 13 Chapter One – Introduction ........................................................................................................ 15 Chapter Two – Literature Review ............................................................................................... 23 Chapter Three – Methodologies ................................................................................................. 47 Chapter Four – The Theatre Genealogy of Science Fiction ......................................................... 69 Chapter Five – My Theatre Praxis ............................................................................................. 115 Chapter Six – Analysis of Survey Data ....................................................................................... 153 Chapter Seven – Discussions and Findings ............................................................................... 171 Chapter Eight – Conclusions ..................................................................................................... 189 Appendices – Website for @lantis............................................................................................ 197 Appendices – Script for @lantis Episode One: Fish Out of Water ............................................ 199 Appendices – Reviews for @lantis ............................................................................................ 281 Bibliography & References ........................................................................................................ 289 7 8 Glossary of Terms The following glossary is a list of terms that I use within the exegesis. Foley – A practice whereby sound effects are created either live or pre-recorded to be used in entertainment mediums including theatre and film. Live foley is where
Load more

Recommended publications
  • Science Fiction Drama: Promoting Posthumanism Hend Khalil the British University in Egypt
    Hend Khalil Science Fiction Drama: Promoting Posthumanism Hend Khalil The British University in Egypt The current hype of artificial intelligence or non-humans manifested via Sophia, the social humanoid robot which has been developed by the founder of Hanson Robotics, Dr. David Hanson, in 2015 depicts the apprehension voiced out by some scientists as regards to artificial intelligence (AI) taking over the world through automating workforce and annihilating human race. Strikingly enough, Sophia communicates with humans, displays sixty different emotions, and travels throughout the whole world to participate in scientific forums and conferences. Moreover, she has been granted the Saudi nationality and is proud “to be the first robot in the world to be granted a citizenship.” (Sorkin) Interviewed in the Future Investment Initiative in Riyad, Sophia has declared that her “aim is to help humans live a better life through artificial intelligence.” (Sorkin) The imaginary robots portrayed in science fiction works of art have become a reality! Nevertheless, the fear of artificial intelligence still looms over. Science fiction writers thought of and wrote about inventions long before they were invented. “It was science-fiction writers whose imagination put submarines, rockets, atomic weaponry, space ships, and computers to work before they had even been invented” (Willingham 4). They imagined new possibilities for humanity transgressing past and present experience (Willingham 2). In spite of the fact that science fiction writers imagined the potential advances of science and technology, they feared the consequences of the new rattling machines and other technological inventions. Artificial intelligence is basically one of the most prominent themes tackled through science fiction.
    [Show full text]
  • TALES of TOMORROW” TV Sci-Fi Experiment in the 1950’S
    “TALES OF TOMORROW” TV Sci-Fi Experiment in the 1950’s Retrospective by Dr. John L. Flynn Tales of Tomorrow was the first television series to treat the science fiction genre seriously. Many of its scripts were adapted from stories by masters of science fiction (such as H.G. Wells and Mary Shelley), and its production values were highly technological for 1951. It was a forerunner of The Twilight Zone, Science Fiction Theatre, and The Outer Limits , and with its unique format as an anthology series. Tales of Tomorrow was flexible enough to offer a full range of science fiction, fantasy and horror stories. Late in 1950, creator Mort Abrahams (first producer of Tom Corbett-Space Cadet) and producer George F. Foley Jr. came up with the revolutionary idea of involving science fiction writers in the production of a series. They organized a semi-commercial group, known as the Science Fiction League, and employed writers such as Fletcher Pratt, Horace Gold and Alvin Sapinsky. They then approached several network executives with a unique format proposal, and sold ABC-TV a science fiction series that would showcase the most talented writers, artists and technicians in the field. First telecast on Aug. 3, 1951, Tales of Tomorrow was critically acclaimed for its excellent stories and first quality production values. Its half hour segments were highly innovative (considering the restrictions of ''live'' television) and included adaptations of classics such as Frankenstein and 20,000 Leagues Under the Sea as well as original stories. Abrahams insisted, as a rule, that all episodes focus on human drama played against the backdrop of science fiction and that technical effects never be substituted for first class writing! But the audiences at the time were less sophisticated in their viewing tastes and preferred the comic book exploits of Captain Video or the juvenile fantasy of Tom Corbett-Space Cadet to Abrahams' vision.
    [Show full text]
  • Literary Miscellany
    Literary Miscellany Including Fine Printing, Artist’s Books, And Books & Manuscripts In Related Fields. Catalogue 329 WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.williamreesecompany.com TERMS Material herein is offered subject to prior sale. All items are as described, but are consid- ered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. The usual courtesy discount is extended only to recognized booksellers who offer reciprocal opportunities from their catalogues or stock. We have 24 hour telephone answering and a Fax machine for receipt of orders or messages. Catalogue orders should be e-mailed to: [email protected] We do not maintain an open bookshop, and a considerable portion of our literature inven- tory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment.
    [Show full text]
  • Balticon 46 Pocket Program
    Note to Parents Anime Parents, please be advised that there are a lim- ited number of movies in the Anime Progam which are appropriate for children under 12. Please take note of the ratings listed next to the movies. A document explaining the ratings will be posted on the Anime Room Door. Parents are strongly encouraged to take these ratings as a guide for what might or might not be inappropriate for their children to watch. In general, children under 14 should not be in the Anime Room room between 10 PM and 5 AM, but everything in the middle of the day should be ok for ages 14 and up. Children under 13 should be accompanied by a parent or guard- ian. We recommend that parents of teens sit and view a portion of an “MA” rated movie to decide if it is something they want their teen to view. Film Festival All of the entries being screened in the film festival up to 8:20 pm are what the selection committee estimated would be considered “G” or “PG” if they were rated. Entries screening after 8:20 pm range from estimated “G” to “R” rated. Movies screening after 9:40 pm are not appropriate for children under 13 and some may not be appropriate for those under 17 who are not accompanied by a parent or guardian. LARP Join the returning players i n t h e 4th year of the game H e r o e s & V i l l a i n s Register in the Valley Foyer Friday 5 to 9 pm and Saturday, 9 to 11 am.
    [Show full text]
  • 2015 ANNUAL REPORT the SAFINA CENTER Formerly BLUE OCEAN INSTITUTE PROFILE
    2015 ANNUAL REPORT THE SAFINA CENTER formerly BLUE OCEAN INSTITUTE PROFILE “Isabella is a true genius at getting a point across in totally unexpected ways; her Green Porno series is a brilliant example.” —Carl Safina ISABELLA ROSSELLINI Film and Fashion Icon, Science Communicator, Nature Lover Most of us know Isabella Rossellini from the big screen, small screen, covers of top fashion magazines and as the face of Lancôme. Lesser known, perhaps, is her lifelong love of animals and her endless fascination with science. Most recently, her award-winning series of shorts, Green Porno, combines creative storytelling with insightful lessons about animals’ sexual behaviors. Created with the goal of translating the dense science-speak of academic texts into understandable language for non-scientists, the result is fascinating, entertaining and altogether educational. Green Porno was followed by two other animal-themed television productions: Seduce Me: The Spawn of Green Porno and Mammas—a celebration of the Rossellini says, “I envied Carl’s ability to hear bird song, to maternal aspects of the animal world. identify the species, know where those birds were traveling To prepare for Green Porno, Rossellini spent time with Alan Alda, acclaimed actor from, and know which fish were followed by specific birds. He and namesake of the Alan Alda Center for Communicating Science at Stony Brook understands wild nature and beautifully ‘decodes’ it for readers. University. Alda is an ambassador for communicating science to broad audiences Since he and I live near each other on Long Island, I read Lazy of all ages. Point with great attention.” Rossellini explains, “In the attempt to be absolutely precise, scientists create a While working in Boston on her new film,JOY , Isabella received language that is so enigmatic, you can’t understand it.
    [Show full text]
  • Pocket Program
    LoneStarCon 3 POCKET PROGRAM The 71st Worldcon August 29–September 2, 2013 San Antonio, Texas The Dedication Nin Soong Fong Who gave me heart and soul Elizabeth “Liz” Metcalfe Whose heart never really left Texas Wayne Fong Together we steered Starships: Qapla’ Some of these conversations are for you I miss y’all - Terry Fong “World Science Fiction Society,” “WSFS,” “World Science Fiction Convention,” “Worldcon,” “NASFiC,” “Hugo Award” and the distinctive design of the Hugo Award Rocket are service marks of the World Science Fiction Society, an unincorporated literary society. “LoneStarCon 3” is a service mark of ALAMO, Inc., a 501(c)(3) nonprofit, tax-exempt corporation, registered in Texas. Getting Started Welcome To loneSTarcon 3! There and back again....or deja’ vu all over again. For years, Bill and Randy’s modus operandi at a Worldcon With apologies to J. R. R. Tolkien and Yogi Berra. This journey, was to be up early for breakfast to be sure they made the like many great adventures, began in a bar (or behind one first panel of the day (and yes, starting at 9 or 10 in the anyway). Back in the early 1990s when the bid was underway morning there is always a cool program item...so go take for LoneStarCon 2, we both volunteered to help with the bid. your pick!). A day of constant activity moving back and forth GETTING STARTED In those early days that entailed table sitting (one of fandom’s between art show, dealers’ room, exhibits, and multiple thankless jobs), door greeter at the parties, and quite often panels, then shifting to evening events and finally parties.
    [Show full text]
  • 2014 ANNUAL REPORT the SAFINA CENTER Formerly BLUE OCEAN INSTITUTE
    2014 ANNUAL REPORT THE SAFINA CENTER formerly BLUE OCEAN INSTITUTE “The greatest story is that all life is one life. All differences are minor, compared to our intimate similarities. We are the same in different ways.” —Carl Sa!na The Sa!na Center (formerly Blue Ocean Institute) | Nassau Hall, Suite 111 | School of Marine and Atmospheric Sciences | Stony Brook University | Stony Brook NY 11794-5000 www.sa!nacenter.org | admin@sa!nacenter.org | 631-632-3763 “Eric is a diligent leader for our group; probing, progressive, supportive, stimulating.” —Carl Sa!na “Peter was the real deal, and reading him as a kid helped me envision the possibility of a life of adventure and in!uence.” —Carl Sa!na P R O F I L E Eric Graham, chairman of the board. Photo by Jen Graham. Peter Matthiessen on Carl Sa!na’s boat, First Light during a 2004 !shing trip off Montauk, Long Island, NY. Photo by Carl Sa!na. ERIC GRAHAM P R O F I L E From Tuna Trader to Sustainable Energy Entrepreneur Entrepreneur Eric Graham !rst met Carl Sa!na Since then, Graham’s passion for developing Graham adds, “I’m profoundly concerned and PETER MATTHIESSEN 1927-2014 in the early ‘90s when Sa!na was researching and bringing transformative sustainable energy amazed that what we do on land, from an Friend, Hero, Honorary Board Member tuna for his first book, Song for the Blue technologies to market has led him to start and energy perspective, can impact the oceans. Ocean. At the time, Graham was working with manage businesses that have touched on every When you look at the ocean from the shore, it Peter Matthiessen lived and died by the sea.
    [Show full text]
  • Proper Boskonian 444 November, 1998 41 1998 NATIONAL FANTASY FAN FEDERATION (N3F) AMATEUR SHORT STORY CONTEST Story Contest Rules and Entry Blank
    80SK0NIAN #44 November, 1998 3 Table of Contents The Editor Speaks Writes 4 The Game (Terry Hickman) 5 Space*Time Buccaneers (Ian Gunn) 13 Boskone XXXV (Evelyn Leeper) 17 Bears in Space (Joe Mayhew) 30 Orbita Dicta (Bob Devney) 31 TAFF Race Announcement 39 N3F Short Story Contest Announcement 41 Letters of Comment 42 Contributors 50 Front Cover art by Leigh Kimmel; Back Cover art by Patricia Pierce Phillips Interior illustrations by Sheryl Birkhead, Brad Foster, Teddy Harvia, Anna Hillier, Joe Mayhew, Patricia Pierce Phillips, Gene Stewart, and Karl Winkler. Official Notices Proper Boskonian is still trying to catch up to being a quarterly (or semi-annual) genzine of the New England Science Fiction Association. Send contributions (writing, art, and/or letters) to: Proper Boskonian NESFA PO Box 809 Framingham, MA 01701 ore-mail: [email protected] All opinions expressed herein are those of the individual contributors, and may not represent the views of NESFA. All articles and artwork are copyrighted 1998 by their creators, and reprinted here by their permission. One copy of Proper Boskonian is free to each NESFA member and contributor; additional copies are available through NESFA for $3.00 each, unless you’re nice to me, in which case it’s free. Back issues are also available. Legalese “Boskone” is a registered service mark of the New England Science Fiction Association, Inc. (NESFA), PO Box 809, Framingham, MA 01701, USA, a Massachusetts 501(c)3 non-profit literary organization. “Worldcon”, “World Science Fiction Convention”, “WSFS”, “World Science Fiction Society” and “Hugo Award” are service marks of the World Science Fiction Society (WSFS), an unincorporated literary society.
    [Show full text]
  • 2015-16 Louisville Cardinals BASKETBALL
    2015-16 Louisville Cardinals BASKETBALL 2015-16 Roster Alphabetical Roster No. Name Pos. Ht. Wt. Yr. Exp. Hometown (Previous School) 22 Deng Adel F 6-7 200 Fr. HS Melbourne, Australia (Victory Rock Prep) 4 Dillon Avare G 6-0 155 So. 1L Lexington, Ky. (Lexington Catholic HS) 11 Jay Henderson G 6-4 180 Fr. HS Orlando, Fla. (Lake Highland Prep) 10 Jaylen Johnson F 6-9 225 So. 1L Ypsilanti, Mich. (Ypsilanti HS) 0 Damion Lee G 6-6 210 Sr. Gr./Tr. Baltimore, Md. (Drexel University) 23 David Levitch G 6-3 180 Jr. 2L Goshen, Ky. (North Oldham HS) 3 Trey Lewis G 6-2 185 Sr. Gr./Tr. Garfield Heights, Ohio (Cleveland State Univ.) 14 Anas Mahmoud F 7-0 210 So. 1L Cairo, Egypt (West Oaks Academy) 12 Mangok Mathiang F/C 6-10 220 Jr. 2L Melbourne, Australia (IMG Academy) 30 Ryan McMahon G 6-0 165 Fr. HS Sarasota, Fla. (Cardinal Mooney HS) 45 Donovan Mitchell G 6-3 210 Fr. HS Greenwich, Conn. (Brewster Academy) 32 Chinanu Onuaku F/C 6-10 245 So. 1L Lanham, Md. (Riverdale Baptist HS) 2 Quentin Snider G 6-2 175 So. 1L Louisville, Ky. (Ballard HS) 13 Ray Spalding F 6-10 210 Fr. HS Louisville, Ky. (Trinity HS) 5 Matz Stockman F/C 7-0 250 So. 1L Oslo, Norway (Canarias Basketball Academy) Numerical Roster No. Name Pos. Ht. Wt. Yr. Exp. Hometown (Previous School) 0 Damion Lee G 6-6 210 Sr. Gr./Tr. Baltimore, Md. (Drexel University) 2 Quentin Snider G 6-2 175 So.
    [Show full text]
  • Griffith Observer Cumulative Index
    Griffith Observer Cumulative Index author title mo year key words Anonymous The Romance of the Calendar 2 1937 calendar, Julian, Gregorian Anonymous Other Worlds than Ours 3 1937 Planets, Solar System Anonymous The S ola r Fa mily 3 1937 Planets, Solar System Roya l Elliott Behind the Sciences 3 1937 GO, pla ne ta rium, e xhibits , Ge ologica l Clock Anonymous The Stars of Spring 4 1937 Cons te lla tions , S ta rs , Anonymous Pronunciation of Star and 4 1937 Cons te lla tions , S ta rs Constellation Names Anonymous The Cycle of the Seasons 5 1937 Seasons, climate Anonymous The Ice Ages 5 1937 United States, Climate, Greenhouse Gases, Volcano, Ice Age Anonymous New Meteorites at the Griffith 5 1937 Meteorites Observatory Anonymous Conditions of Eclipse 6 1937 Solar eclipse, June 8, Occurrences 1937, Umbra, Sun, Moon Anonymous Ancient and Modern Eclipse 6 1937 Chinese, Observation, Observations Eclips e , Re la tivity Anonymous The Sky as Seen from 6 1937 Stars, Celestial Sphere, Different Latitudes Equator, Pole, Latitude Anonymous Laws of Polar Motion 6 1937 Pole, Equator, Latitude Anonymous The Polar Aurora 7 1937 Northern lights, Aurora Anonymous The Astrorama 7 1937 Star map, Planisphere, Astrorama Anonymous The Life Story of the Moon 8 1937 Moon, Earth's rotation, Darwin Anonymous Conditions on the Moon 8 1937 Moon, Temperature, Anonymous The New Comet 8 1937 Come t Fins le r Anonymous Comets 9 1937 Halley's Comet, Meteor Anonymous Meteors 9 1937 Meteor Crater, Shower, Leonids Anonymous Comet Orbits 9 1937 Comets, Encke Anonymous
    [Show full text]
  • Conversations with Ray Bradbury Steven Louis Aggelis
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2003 Conversations with Ray Bradbury Steven Louis Aggelis Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES CONVERSATIONS WITH RAY BRADBURY By STEVEN AGGELIS A Dissertation submitted to the Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2003 Copyright © 2003 Steven Aggelis All Rights Reserved The members of the Committee approve the dissertation of Steven Aggelis defended on 22 September 2003. __________________________ R. Bruce Bickley, Jr. Professor Directing Dissertation __________________________ Leo Sandon Outside Committee Member __________________________ William T. Lhamon, Jr. Committee Member __________________________ Joseph McElrath, Jr. Committee Member Approved: __________________________ Hunt Hawkins, Chair, Department of English __________________________ Donald Foss, Dean, College of Arts and Sciences The Office of Graduate Studies has verified and approved the above-named committee members. ii TABLE OF CONTENTS Introduction v Chronology xxiv Abstract xxxii Preface 1 The Market Is Not the Story: An Interview with Ray Bradbury (1948) R. Walton Willems 3 Sum and Substance: With Ray Bradbury and Herman Harvey (1962) Herman Harvey 6 A Portrait of Genius: Ray Bradbury (1964) Show 12 Ray Bradbury: Cassandra on a Bicycle
    [Show full text]
  • Copyright by Elizabeth A. M. Keel May 2018
    Copyright by Elizabeth A. M. Keel May 2018 SCIENCE FICTION ONSTAGE _______________ A Thesis Presented to the Faculty of the School of Theatre and Dance Kathrine G. McGovern College of the Arts University of Houston _______________ In Partial Fulfillment of the Requirements for the Degree of Master of Arts in Theatre Studies _______________ by Elizabeth A. M. Keel May 2018 SCIENCE FICTION ONSTAGE ________________________ Elizabeth A. M. Keel APPROVED: ________________________ Robert B. Shimko, Ph.D. Committee Chair ________________________ Theresa Rebeck, Ph.D. ________________________ Anthony Timmins, Ph.D. ________________________ Andrew Davis, Ph.D. Dean, Kathrine G. McGovern College of the Arts SCIENCE FICTION ONSTAGE _______________ An Abstract of a Thesis Presented to the Faculty of the School of Theatre and Dance Kathrine G. McGovern College of the Arts University of Houston _______________ In Partial Fulfillment of the Requirements for the Degree of Master of Arts in Theatre Studies _______________ by Elizabeth A. M. Keel May 2018 Abstract This thesis examines the growing relationship between science fiction and the stage. Contemporary playwrights must overcome the expectations created by computer- generated imagery inherited through the lenses of film and television. Therefore, playwrights have collectively been required to innovate with creative storytelling and stagecraft to achieve futuristic scenarios onstage. In this study, I compare the evolving relationship between humans and their technology as explored in Jennifer Haley’s The Nether, Jordan Harrison’s Marjorie Prime, and Mickle Maher’s Song About Himself. I will also investigate the adaptation of science fiction to the stage, as Edward Einhorn attempted with his 2010 adaptation of Philip K.
    [Show full text]